In Brucie Jacobs’ Macrovision, Skyscapes, and Facing East series, the photographs —archival pigment ink prints on lightweight mulberry-based Unryu and Kozo papers— are immersed in clear encaustic medium. The translucent quality of the wax surface lends an extra dimension to her photography. Although these works on paper can be framed, she typically displays them frameless, attaching them to the wall like free-hanging scrolls. They are available in the dimensions indicated, as well as in smaller custom sizes.
The Unleashed pieces in Works on Paper involved pouring large amounts of pigmented encaustic on archival paper. While Jacobs maintains some control over the hot wax flowing across the paper, encaustic tends to have a life of its own, especially when poured; the end result of a pour is determined as much by the wax’s spontaneity as by any manipulation or artistic design. Jacobs’ poured paintings are framed in order to protect any un-waxed areas of the paper. (Note that the occasionally large amount of encaustic spilling on the floor is not wasted, but saved for future use.) Prints are available in various sizes.
The encaustic Monotypes selected for Works on Paper were created on hot metal plates. All works are original because only one print—the “mono” print—can be pulled from the plate, removing the encaustic paint. If enough encaustic remains on the hot plate, a ghost image may be printed. Papers chosen for the Monotypes include fragile, absorbent Japanese paper as well as heavier watercolor and other archival papers. Each Monotype is framed. Prints are available in various sizes.